Tribeca Film via Everett Collection
For a film that involves a love triangle, mental illness, a Bohemian colony of free-spirits, an impending war and several important historical figures, the most exciting elements of Summer in February are the stunning shots of the English country and Cornish seaside. The rest of the film never quite lives up to the crashing waves and sun-dappled meadows that are used to bookend the scenes, as the entertaining opening never manages to coalesce into a story that lives up the the cinematography, let alone the lives of the people that inspired it.
Set in an Edwardian artist’s colony in Cornwall, Summer in February tells the story of A.J. Munnings (Dominic Cooper), who went on to become one of the most famous painters of his day and head of the Royal Academy of Art, his best friend, estate agent and part-time soldier Gilbert Evans (Dan Stevens), and the woman whom they both loved, aspiring artist Florence Carter-Wood (Emily Browning). Her marriage to Munnings was an extremely unhappy one, and she attempted suicide on their honeymoon, before killing herself in 1914. According to his journals, Gilbert and Florence were madly in love, although her marriage and his service in the army kept them apart.
When the film begins, Munnings is the center of attention in the Lamorna Artist's Colony, dramatically reciting poetry at parties and charming his way out of his bar tab while everyone around him proclaims him to be a genius. When he’s not drinking or painting, he’s riding horses with Gilbert, who has the relatively thankless task of keeping this group of Bohemians in line. Their idyllic existence is disrupted by the arrival of Florence, who has run away from her overbearing father and the fiancé he had picked out for her in order to become a painter.
Stevens and Browning both start the film solidly, with enough chemistry between them to make their infatuation interesting. He manages to give Gilbert enough dependable charm to win over both Florence and the audience, and she presents Florence as someone with enough spunk and self-possession to go after what she wants. Browning’s scenes with Munnings are equally entertaining in the first third of the film, as she can clearly see straight through all of his bravado and he is intrigued by her and how difficult she is to impress. Unfortunately, while the basis of the love triangle is well-established and entertaining, it takes a sudden turn into nothing with a surprise proposal from Munnings.
Neither the film nor Browning ever make it clear why Florence accepts his proposal, especially when they have both taken great pains to establish that she doesn’t care much for him. But once she does, the films stalls, and both Stevens and Browning spend the rest of the film doing little more than staring moodily and longingly at the people around them. The real-life Florence was plagued by depression and mental instability, but neither the film nor Browning’s performance ever manage to do more than give the subtlest hint at that darkness. On a few occasions, Browning does manage to portray a genuine anguish, but rather than producing any sympathy from the audience, it simply conjures up images of a different film, one that focused more on Florence, and the difficulties of being a woman with a mental illness at a time when both were ignored or misunderstood.
Stevens is fine, and Gilbert starts out with the same kind of good-guy appeal the won the heart of Mary Crawley and Downton Abbey fans the world over. However, once the film stalls, so does his performance, and he quickly drops everything that made the character attractive or interesting in favor of longing looks and long stretches of inactivity. He does portray a convincing amount of adoration for Florence, although that's about the only real emotion that Gilbert expresses for the vast majority of the film, and even during his love scene, he never manages to give him any amount of passion.
Cooper does his best with what he’s given, and tries his hardest to imbue the film with some substance and drama. His Munnings is by turns charming, brash, and brooding, the kind of person who has been told all of their life that they are special, and believes it. He even manages to give the character some depth, and even though he and Browning have very little chemistry, he manages to convey a genuine affection for her. It’s a shame that Munnings becomes such a deeply unlikable character, because Cooper is the only thing giving Summer in February a jolt of life – even if it comes via bursts of thinly-explained hostility. It's hard to watch just how hard he's working to connect with his co-stars and add some excitement to a lifeless script and not wish that he had a better film to show off his talents in.
Unfortunately, by the time Florence and Gilbert are finally spurred into activity, the film has dragged on for so long that you’re no longer invested in the characters, their pain, or their love story, even if you want to be. Which is the real disappointment of Summer in February; underneath the stalled plot and the relatively one-note acting, there are glimmers of a fascinating and compelling story that’s never allowed to come to the forefront.
Downton Abbey star Jessica Brown Findlay has landed a leading role in the new Frankenstein adaptation opposite Daniel Radcliffe and James Mcavoy. The actress, who played the late Lady Sybil Crawley in the period drama, has beaten out a host of other leading ladies to land the role of an injured trapeze artist in director Paul McGuigan's retelling of the Mary Shelley horror classic.
Radcliffe will play hunchback Igor in the film, while McAvoy will portray monster-maker Victor Frankenstein.
It’s been a couple of weeks since Amanda (Margarita Levieva) met her shocking end on Revenge, and when the show returns with tonight’s new episode, "Retribution," we’ll see our favorite Hamptonites grieving in their own way. While we already know that her widower Jack (Nick Wechsler) is out for blood, he isn’t the only one facing a tough, dark path in the wake of Amanda’s death.
Ever since Charlotte (Christa B. Allen) found out she was David Clarke’s daughter and the half-sister of Amanda, she's enjoyed a special bond with her "sister." So besides Jack, Charlotte is affected the most by Amanda’s death. "We saw Charlotte lose her mind a bit in Season 1, and I think we might be heading a bit in that direction again," Allen says. "She’s losing it. It’s going to manifest itself in a bit of violence."
And of course Charlotte’s mental descent is going to affect her boyfriend Declan (Connor Paolo), who already has enough on his plate with trying to help his brother. "Declan had really grown to care about Amanda," Paolo says. "She was the mother of his nephew. Things come to light through their own fractured way about who Jack and Declan think is responsible for what’s happened, [and that] changes things as well." Could they possibly find out that Conrad Grayson (Henry Czerny) gave the orders to kill Amanda?
While that remains a mystery for now, Czerny was eager to reveal how Amanda's death will affect Revenge as a whole. "It gets better. It gets deeper," Czerny says. "There is a deeper hurt with Amanda’s passing, and the stuff that comes out of that hurt is intriguing."
RELATED: 'Revenge' Season 2 Spoilers: 'S*** Is Going Down,' Promises Creator Mike Kelley
One result of Amanda's death is that it makes Emily (Emily VanCamp) focus once again on taking down the Graysons. "Amanda’s death [has] given Emily a focus to drive through to the end now with a clear goal," says Barry Sloane [Aiden Mathis]. "So it’s also given Aiden a clear goal, of 'Well, I lost my sister, I’m going to help you not lose your goal.' All of his energies are going towards keeping Emily happy, and making sure that this works."
But what does that mean for Emily and Aiden as a couple? "We have to see how he fits within what she needs him to do in the next few weeks," Sloane says. "Obviously the key thing is that Emily and Aiden will work together to bring down Daniel, and do whatever it takes."
That's right, instead of focusing on Conrad and Victoria (Madeleine Stowe), Emily's Revengenda is all about Daniel (Josh Bowman) now that he has fully committed to being a Grayson. And after seeing his mother kill Helen Crawley, he is no longer in the dark about his family's actions. "He’s been brought into the world more," Bowman says. "Pulling the wool from your eyes and actually seeing death, actually seeing what life is all about in this society that he’s grown up with... I think he’s brought the chips to the poker game and he’s playing the game now. The apple doesn’t fall far from the tree. He’s picked up the apple and taken a big bite out of it."
So say goodbye to any warm, fuzzy feelings that Emily might once have had for Daniel. "Any love that she had for Daniel in the first season has just vaporized into thin air," Bowman says. "She’s just hell bent on revenge, and uses me as an access key to carry out her mission. She’s definitely a lot more calculated than she was in the first season. She’s a lot more ruthless."
With the stakes the highest they've ever been, and Emily more ruthless than ever, is there any chance for a happy ending for anyone? Are they all doomed? Stowe seems to think so.
"I [want to have] have some kind of suicide because Emily has driven [Victoria] so insane," she says. "And Emily is sitting in my chair in Grayson manor, and she’s turned into Victoria." We could definitely see that happening!
Revenge returns Sunday night at 9 PM ET/PT on ABC.
Follow Sydney on Twitter: @SydneyBucksbaum
[Photo Credit: Danny Feld/ABC]
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Awards season is in full swing, and with tonight's Screen Actors Guild Awards (SAG for short) — the 19th time the ceremony has taken place. Airing live on TBS and TNT on Sunday, January 27 (at 5PM PST/8PM EST), some of the biggest movies of the year are making tracks towards the Big Night (aka the Academy Awards), while television shows like Homeland and Modern Family will see if they can continue to dominate.
Will 30 Rock go out with big wins? Will Maggie Smith continue to not show up (yes, of course)? Check out the winners (in bold), which will be updated live, below!
THEATRICAL MOTION PICTURES
Outstanding Performance By A Male Actor In A Leading Role
Bradley Cooper / Pat - "Silver Linings Playbook" (The Weinstein Company)
Daniel Day-Lewis / Abraham Lincoln - "Lincoln" (Touchstone Pictures)
John Hawkes / Mark - "The Sessions" (FOX Searchlight)
Hugh Jackman / Jean Valjean - "Les Misérables" (Universal Pictures)
Denzel Washington / Whip Whitaker - "Flight" (Paramount Pictures)
Outstanding Performance By A Female Actor In A Leading Role
Jessica Chastain / Maya - "Zero Dark Thirty" (Columbia Pictures)
Marion Cotillard / Stephanie - "Rust And Bone" (sony Pictures Classics)
Jennifer Lawrence / Tiffany - "Silver Linings Playbook" (The Weinstein Company)
Helen Mirren / Alma Reville - "Hitchcock" (FOX Searchlight)
Naomi Watts / Maria - "The Impossible" (Summit Entertainment)
Outstanding Performance By A Male Actor In A Supporting Role
Alan Arkin / Lester Siegel - "Argo" (Warner Bros. Pictures)
Javier Bardem / Silva - "Skyfall" (Columbia Pictures)
Robert De Niro / Pat, Sr. - "Silver Linings Playbook" (The Weinstein Company)
Philip Seymour Hoffman / Lancaster Dodd - "The Master" (The Weinstein Company)
Tommy Lee Jones / Thaddeus Stevens - "Lincoln" (Touchstone Pictures)
Outstanding Performance By A Female Actor In A Supporting Role
Sally Field / Mary Todd Lincoln - "Lincoln" (Touchstone Pictures)
Anne Hathaway / Fantine - "Les Misérables" (Universal Pictures)
Helen Hunt / Cheryl - "The Sessions" (FOX Searchlight)
Nicole Kidman / Charlotte Bless - "The Paperboy" (Millennium Entertainment)
Maggie Smith / Muriel Donnelly - "The Best Exotic Marigold Hotel" (FOX Searchlight)
Outstanding Performance By A Cast In A Motion Picture
Argo (Warner Bros. Pictures)
The Best Exotic Marigold Hotel (FOX Searchlight)
Les Misérables (Universal Pictures)
Lincoln (Touchstone Pictures)
Silver Linings Playbook (The Weinstein Company)
Outstanding Performance By A Male Actor In A Television Movie Or Miniseries
Kevin Costner / "Devil Anse" Hatfield - "Hatfields & Mccoys" (History)
Woody Harrelson / Steve Schmidt - "Game Change" (HBO)
Ed Harris / John Mccain - "Game Change" (HBO)
Clive Owen / Ernest Hemingway & "Hemingway & Gellhorn" (HBO)
Bill Paxton / Randall Mccoy - "Hatfields & Mccoys" (History)
Outstanding Performance By A Female Actor In A Television Movie Or Miniseries
Nicole Kidman / Martha Gellhorn - "Hemingway & Gellhorn" (HBO)
Julianne Moore / Sarah Palin - "Game Change" (HBO)
Charlotte Rampling / Eva Delectorskaya - "Restless" (Sundance Channel)
Sigourney Weaver / Elaine Barrish Hammond - "Political Animals" (USA)
Alfre Woodard / Ouiser - "Steel Magnolias" (Lifetime)
Outstanding Performance By A Male Actor In A Drama Series
Steve Buscemi / Enoch "Nucky" Thompson - "Boardwalk Empire" (HBO)
Bryan Cranston / Walter White - "Breaking Bad" (AMC)
Jeff Daniels / Will McAvoy - "The Newsroom" (HBO)
Jon Hamm / Don Draper - "Mad Men" (AMC)
Damian Lewis / Nicholas Brody - "Homeland" (Showtime)
Outstanding Performance By A Female Actor In A Drama Series
Claire Danes / Carrie Mathison - "Homeland" (Showtime)
Michelle Dockery / Lady Mary Crawley - "Downton Abbey" (PBS)
Jessica Lange / Sister Jude - "American Horror Story: Asylum" (FX)
Julianna Margulies / Alicia Florrick - "The Good Wife" (CBS)
Maggie Smith / Violet, Dowager Countess Of Grantham - "Downton Abbey" (PBS)
Outstanding Performance By A Male Actor In A Comedy Series
Alec Baldwin / Jack Donaghy - "30 Rock" (NBC)
Ty Burrell / Phil Dunphy - "Modern Family" (ABC)
Louis C.K. / Louie - "Louie" (FX)
Jim Parsons / Sheldon Cooper - "The Big Bang Theory" (CBS)
Eric Stonestreet / Cameron Tucker - "Modern Family" (ABC)
Outstanding Performance By A Female Actor In A Comedy Series
Edie Falco / Jackie Peyton - "Nurse Jackie" (Showtime)
Tina Fey / Liz Lemon - "30 Rock" (NBC)
Amy Poehler / Leslie Knope - "Parks and Recreation" (NBC)
Sofia Vergara / Gloria Delgado-Pritchett - "Modern Family" (ABC)
Betty White / Elka Ostrovsky - "Hot In Cleveland" (TV Land)
Outstanding Performance By An Ensemble In A Drama Series
Boardwalk Empire (HBO)
Breaking Bad (AMC)
Downton Abbey (PBS)
Mad Men (AMC)
Outstanding Performance By An Ensemble In A Comedy Series
30 Rock (NBC)
Modern Family (ABC)
Nurse Jackie (Showtime)
The Office (NBC)
SAG AWARDS HONORS FOR STUNT ENSEMBLES
Outstanding Action Performance By A Stunt Ensemble In A Motion Picture
The Amazing Spider-Man (Columbia Pictures)
The Bourne Legacy (Universal Pictures)
The Dark Knight Rises (Warner Bros. Pictures)
Les Misérables (Universal Pictures)
Skyfall (Columbia Pictures)
Outstanding Action Performance By A Stunt Ensemble In A Television Series
Boardwalk Empire (HBO)
Breaking Bad (AMC)
Game Of Thrones (HBO)
Sons Of Anarchy (FX)
The Walking Dead (AMC)
Screen Actors Guild 49th Annual Life Achievement Award
Dick Van Dyke
What do you think of this year's winners and losers? Shocked? Happy? Sad? Let us know, in the comments below!
[Photo Credit: Mark Davis/Getty Images]
Follow Alicia on Twitter @alicialutes
Screen Actors Guild Awards: Why the SAGs Are My Favorite Awards Show — VIDEO
Producers Guild Awards 2013: 'Argo,' 'Homeland' Continue Award Season Domination
Sundance Awards: 'Fruitvale' Is 2013's First Oscar Contender
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The actor, who played Matthew Crawley in the hit period drama, saw off competition from Thor star Tom Hiddleston and rapper Tinie Tempah to take the top spot in the annual poll.
Hiddleston and Tempah came in second and third respectively, while Robert Pattinson and Charles, Prince of Wales also featured in the top 10.
James Bond star Daniel Craig topped American GQ's annual list, but he landed in a lowly 25th place in the British countdown, just ahead of the country's Prime Minister, David Cameron, at 28.
British singer Ed Sheeran topped the magazine's worst dressed category and bemoaned the dishonour in a series of posts on Twitter.com, writing, "Named no.1 worst dressed male in GQ, glad they noticed. I did wear a Burberry suit once."
The first and most important thing you should know about Paramount Pictures’ Thor is that it’s not a laughably corny comic book adaptation. Though you might find it hokey to hear a bunch of muscled heroes talk like British royalty while walking around the American Southwest in LARP garb director Kenneth Branagh has condensed vast Marvel mythology to make an accessible straightforward fantasy epic. Like most films of its ilk I’ve got some issues with its internal logic aesthetic and dialogue but the flaws didn’t keep me from having fun with this extra dimensional adventure.
Taking notes from fellow Avenger Iron Man the story begins with an enthralling event that takes place in a remote desert but quickly jumps back in time to tell the prologue which introduces the audience to the shining kingdom of Asgard and its various champions. Thor (Chris Hemsworth) son of Odin is heir to the throne but is an arrogant overeager and ill-tempered rogue whose aggressive antics threaten a shaky truce between his people and the frost giants of Jotunheim one of the universe’s many realms. Odin (played with aristocratic boldness by Anthony Hopkins) enraged by his son’s blatant disregard of his orders to forgo an assault on their enemies after they attempt to reclaim a powerful artifact banishes the boy to a life among the mortals of Earth leaving Asgard defenseless against the treachery of Loki his mischievous “other son” who’s always felt inferior to Thor. Powerless and confused the disgraced Prince finds unlikely allies in a trio of scientists (Natalie Portman Stellan Skarsgard and Kat Dennings) who help him reclaim his former glory and defend our world from total destruction.
Individually the make-up visual effects CGI production design and art direction are all wondrous to behold but when fused together to create larger-than-life set pieces and action sequences the collaborative result is often unharmonious. I’m not knocking the 3D presentation; unlike 2010’s genre counterpart Clash of the Titans the filmmakers had plenty of time to perfect the third dimension and there are only a few moments that make the decision to convert look like it was a bad one. It’s the unavoidable overload of visual trickery that’s to blame for the frost giants’ icy weaponized constructs and other hybrids of the production looking noticeably artificial. Though there’s some imagery to nitpick the same can’t be said of Thor’s thunderous sound design which is amped with enough wattage to power The Avengers’ headquarters for a century.
Chock full of nods to the comics the screenplay is both a strength and weakness for the film. The story is well sequenced giving the audience enough time between action scenes to grasp the characters motivations and the plot but there are tangential narrative threads that disrupt the focus of the film. Chief amongst them is the frost giants’ fore mentioned relic which is given lots of attention in the first act but has little effect on the outcome. In addition I felt that S.H.I.E.L.D. was nearly irrelevant this time around; other than introducing Jeremy Renner’s Hawkeye the secret security faction just gets in the way of the movie’s momentum.
While most of the comedy crashes and burns there are a few laughs to be found in the film. Most come from star Hemsworth’s charismatic portrayal of the God of Thunder. He plays up the stranger-in-a-strange-land aspect of the story with his cavalier but charming attitude and by breaking all rules of diner etiquette in a particularly funny scene with the scientists whose respective roles as love interest (Portman) friendly father figure (Skarsgaard) and POV character (Dennings) are ripped right out of a screenwriters handbook.
Though he handles the humorous moments without a problem Hemsworth struggles with some of the more dramatic scenes in the movie; the result of over-acting and too much time spent on the Australian soap opera Home and Away. Luckily he’s surrounded by a stellar supporting cast that fills the void. Most impressive is Tom Hiddleston who gives a truly humanistic performance as the jealous Loki. His arc steeped in Shakespearean tragedy (like Thor’s) drums up genuine sympathy that one rarely has for a comic book movie villain.
My grievances with the technical aspects of the production aside Branagh has succeeded in further exploring the Marvel Universe with a film that works both as a standalone superhero flick and as the next chapter in the story of The Avengers. Thor is very much a comic book film and doesn’t hide from the reputation that its predecessors have given the sub-genre or the tropes that define it. Balanced pretty evenly between “serious” and “silly ” its scope is large enough to please fans well versed in the source material but its tone is light enough to make it a mainstream hit.